Why Babygirl (2024) Fails to Deliver as an Erotic Thriller

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(Warning: Spoilers in video.)

Halina Reijn’s Babygirl, starring Nicole Kidman, Harris Dickinson, and Antonio Banderas, promised an erotic thriller that deconstructs power dynamics and shame. But while the premise was intriguing—a high-powered CEO jeopardizing her career and family through a torrid affair with her much younger intern—the film ultimately left much to be desired. Below is an exploration of its strengths, weaknesses, and where it might have gone wrong.

Haven’t seen it yet? Stop reading now to avoid spoilers. Bookmark this page, go watch the film, then come back for the deep dive!

Power, Privilege, and Punishment

Babygirl centers on Romy (Nicole Kidman), a corporate powerhouse who embarks on an illicit affair with her intern, played by Harris Dickinson. The narrative focuses heavily on Romy’s internal turmoil, exploring themes of shame and self-punishment while also presenting her as a deeply flawed, self-serving character.

One of the film’s strengths lies in its subversion of traditional storytelling norms. Romy never truly faces consequences for her actions—her husband (Antonio Banderas) forgives her, and her daughter views the affair as an understandable lapse. This lack of external repercussions underscores a key thematic point: Romy’s punishment is internal, driven by her own guilt and shame. Women are allowed to be flawed, even irredeemable characters, and Babygirl doesn’t shy away from portraying Romy as someone who “gets away with it.”

However, this narrative choice feels like a double-edged sword. While Halina Reijn’s intention to prioritize the deconstruction of shame over traditional notions of justice is clear, the psychological exploration doesn’t translate effectively. The result feels hollow, leaving viewers disconnected from both the character’s struggles and the film’s intended message.

A Missed Opportunity as an Erotic Thriller

As an “erotic thriller,” Babygirl falls disappointingly flat. The tension never reaches the boiling point you’d expect from the genre, and neither the eroticism nor the thrills are impactful. The chemistry between Kidman and Dickinson feels underdeveloped, and the lack of emotional stakes undermines the story’s dramatic potential.

While the film makes bold thematic choices, it plays it far too safe in execution. The characters lack the depth and complexity needed to make viewers care about them. Romy’s affair is meant to be provocative, but without a sense of genuine connection—or even fiery conflict—it fails to engage on a visceral level.

Highlights: Soundtrack and Cinematography

Despite its shortcomings, Babygirl does have redeeming qualities. The soundtrack is one of the film’s strongest elements, expertly complementing the sleek, high-powered world Romy inhabits. The cinematography also deserves recognition, with its polished, almost clinical aesthetic mirroring the emotional detachment of the characters. These visual and auditory elements elevate the atmosphere, even if the story itself doesn’t deliver.

Final Verdict: A Psychological Exploration That Feels Hollow

Halina Reijn’s Babygirl had all the ingredients for a captivating psychological drama and erotic thriller, but the final product feels like a missed opportunity. While Nicole Kidman delivers a compelling performance and the themes of shame and privilege are intriguing, the film’s lack of emotional depth and narrative cohesion ultimately holds it back.

Rating: 2 out of 5 stars

Pros: Nicole Kidman’s nuanced performance. A strong soundtrack that enhances the mood. Stunning cinematography with a sleek, polished aesthetic.

Cons: Lacks the tension and intensity of a true erotic thriller. Underdeveloped characters that fail to evoke sympathy or intrigue. The psychological exploration feels shallow and disconnected.

What Did You Think of Babygirl?

Did the film’s psychological exploration resonate with you, or were you left wanting more? Share your thoughts in the comments below and let’s discuss the complexities of Babygirl together.